Violin Concertos Opp. 11 & 12 L'Arte dell'Arco Federico Guglielmo solo violin & concertmaster Vivaldi ANTONIO VIVALDI 1678-1741 Violin Concertos Op.11 Concerto No.1 in D RV207 Violin Concertos Op.12 Concerto No.6 in B flat RV361 6 Concerti a Violino Principale, Violino for violin, strings and continuo 6 Concerti a Violino Principale, Violino for violin, strings and continuo Primo e Secondo, Alto, Viola, Organo e 13. I. Allegro 3’09 Primo e Secondo, Alto Viola, Organo e 31. I. Allegro 4’08 Violoncello (Amsterdam, 1729) 14. II. Largo 2’13 Violoncello Amsterdam, 1729) 32. II. Largo 2’14 15. III. Allegro 2’39 33. III. Allegro 4’02 Concerto No.5 in C minor RV202 Concerto No.5 in B flat RV379 for violin, strings and continuo Concerto No.6 in G minor RV460* for violin, strings and continuo Concerto No.3 in D RV124 1. I. Allegro non molto 4’47 for oboe, strings and continuo 19. I. Allegro 3’43 for strings and continuo 2. II. Largo 2’21 16. I. Allegro non tanto 3’43 20. II. Largo 2’49 34. I. Allegro 2’13 3. III. Allegro non molto 3’57 17. II. Largo 3’02 21. III. Allegro 3’14 35. II. Grave 2’00 18. III. Allegro non molto 3’34 36. III. Allegro 1’50 Concerto No.4 in G RV308 Concerto No.1 in G minor RV317 for violin, strings and continuo Federico Guglielmo solo violin & for violin, strings and continuo Federico Guglielmo solo violin & 4. I. Allegro 4’08 concertmaster 22. I. Allegro 3’24 concertmaster 5. II. Largo cantabile 3’40 Pier Luigi Fabretti solo oboe* 23. II. Largo 3’41 6. III. Allegro 3’49 24. III. Allegro 2’59 L'Arte dell'Arco L'Arte dell'Arco Isabella Bison violin I Concerto No.2 in E minor RV277 Francesco Bonomo violin I Concerto No.4 in C RV173 Elisa Imbalzano violin II “Il Favorito” for violin, strings and continuo Carlo Lazari violin II for violin, strings and continuo Mario Paladin viola 7. I. Allegro 4’29 Mario Paladin viola 25. I. Largo spiccato, Allegro 4’10 Francesco Galligioni cello 8. II. Andante 4’20 Francesco Galligioni cello 26. II. Largo 2’06 Mauro Zavagno violone/double bass 9. III. Allegro 4’24 Paolo Zuccheri violone/double bass 27. III. Allegro 2’27 Andrea Coen harpsichord Roberto Loreggian harpsichord/chamber Diego Cantalupi theorbo/Baroque guitar Concerto No.3 in A RV336 organ Concerto No.2 in D minor RV244 for violin, strings and continuo Ivano Zanenghi theorbo for violin, strings and continuo 10. I. Allegro 4’06 28. I. Allegro 3’39 11. II. Aria Andante 2’34 29. II. Larghetto 2’42 12. III. Allegro 3’20 30. III. Allegro 2’35 VIVALDI Violin Concertos Op.11 & Op.12 tally with the printed edition, as well as the oboe concerto that concludes the series. Vivaldi had a fairly problematic relationship with publishing throughout his life, even What is remarkable about the Op.12 concertos – only two of which are kept in the though the printed editions of his works must have contributed to his widespread Turin archive – is the inclusion of a concerto for strings with no solo part: the only fame. At the outset, he turned to two, somewhat-dated traditional printers in one of its sort in Vivaldi’s entire printed works. Something may have gone amiss Venice, respectively entrusting his Op.1 and Op.2 to Bortoli and Sala. Then in 1709 on this occasion as well, though perhaps the most likely explanation, vindicated by he decided to go over to Estienne Roger, the Amsterdam-based publisher whose something Vivaldi said to an English woman he met in 1733, is that the composer techniques were considerably more advanced. Following two enormously successful decided to suspend the publications because he hoped for better returns at a later date collections, L’Estro Armonico and La Stravaganza, published in direct accordance through direct sales of his scores. with the composer, Roger evidently felt it behoved him to take advantage of Vivaldi’s The musical quality of the compositions of this latter period is particularly fame by publishing three collections hastily put together, in all probability without noteworthy. By this time in his full maturity, Vivaldi was highly receptive to the the composer’s supervision. This decision must have undermined his relationship with appeal of the new galant taste, enriched by his experience with opera, and sensitive Vivaldi, however, because no more of his scores were offered for publication for the to discussion with acclaimed composers such as Leonardo Vinci, Nicola Porpora following five years. Something similar would seem to have taken place a decade later and Leonardo Leo. At the same time, he also had to address the appearance on the as well, around 1728–9, when Michel-Charles Le Cène, the publisher who had taken scene of a new generation of violinists, particularly Giuseppe Tartini and Pietro over the company, printed Il Cimento dell’Armonia e dell’Inventione and La Cetra, Locatelli. He was thus more sensitive to harmony, especially in the central movements along with three ‘small’ works consisting of Concertos for Flute (Op.10) and Violin that often grew in length, adopting tempi that were less hurried and more varied, (Opp. 11 and 12). As with the Opp. 5, 6 and 7 mentioned previously, here again the with unusual rhythmic figurations typical of the new taste. Moreover, the solo parts three collections were underwritten directly by the publisher, and printed without became extremely demanding, especially in the Op.11 concertos and two of the dedicatory epistles. Furthermore, they also comprised pieces that had been adapted Op.12 concertos, to the extent that amateur musicians would have found them almost or rearranged on the basis of earlier versions, especially the Flute Concertos Op.10. impossible to play. Clearly these publications, which reveal various differences of content, were more Manuscript versions reveal that concertos Nos. 1 and 4 of Op.11 were part of the commercial in intent. An advertisement that appeared in the Gazette d’Amsterdam on endowment of solo works created for Anna Maria, a young virtuoso student at the 2 September 1729 suggests that Op.11 and Op.12 were published at pretty much the Ospedale della Pietà. Likewise noteworthy is the sixth and last oboe concerto, which same time. It may well be, however, that this time the composer himself selected the had featured as a violin concerto in La Cetra (printed edition of 1727). Although it concertos that made up the collections. was published later, the arrangement for oboe is considered the original version of this Among the Op.11 concertos there are two pieces (RV202 Op.11 No.5 and RV277 concerto. Another outstanding work is the Concerto RV277 (Op.11 No.2), known as Op.11 No.2) that were also included in La Cetra (Vivaldi’s manuscript score of Il favorito, possibly on account of Charles VI’s appreciation of it, or because it was 1728, presented directly to the Holy Roman Emperor Charles VI). Moreover, there particularly dear to the composer himself. The Op.12 concertos may also have been are also various manuscript versions of other concertos, though they do not entirely compiled somewhat hastily, given the presence of two consecutive concertos (Nos. 5 and 6) in the same key, which would have been unusual for Vivaldi at the time. The VIVALDI Concerti per violino Op.11 e Op.12 inclusion of the concerto ripieno for strings without a solo part is also strange, since it Il rapporto di Vivaldi con l’editoria pare essere stato problematico per tutta la sua is unique in Vivaldi’s printed works. At all events, the presence of the admirable fugue esistenza, anche se probabilmente proprio grazie alla divulgazione stampata delle sue in the last movement certainly confutes the conviction that Vivaldi had little feeling composizione egli conobbe la maggior fama. Dapprima legato, con la stampa presso for this genre of composition. Bortoli e Sala delle Op.1 e Op.2, alla vecchia e ormai superata editoria veneziane © Federico Guglielmo Vivaldi dopo il 1709 si volse decisamente e, come documentato, entusiasticamente Translation: Kate Singleton alle moderne tecniche conseguite dall’editore Roger di Amsterdam. Dopo due raccolto di grande successo come l’Estro Armonico e la Stravaganza, pubblicate con il diretto controllo del compositore, l’editore Roger di Amsterdam, ritenne probabilmente di capitalizzare la fama vivaldiana con 3 raccolte assemblate in fretta e con buona sicurezza senza la supervisione dell’autore. Questa decisione deve avere alterato non poco i rapporti con Vivaldi che, di fatto, non pubblicherà più nulla per un quinquennio. Una situazione potenzialmente simile sembra essersi verificata tuttavia un decennio più tardi, intorno al 1728-29, in seguito alla pubblicazione da parte di Michel-Charles Le Cène, l’editore subentrato nella ditta, de Il Cimento dell’Armonia e dell’Inventione e de La Cetra con le tre opere “piccole” di Concerti per flauto (Op.10) e violino (Op.11 e Op.12). Come le citate Op.5-6-7 anche queste tre raccolte furono finanziate direttamente dall’editore, sono prive di dedicatari e presentano – specie nel caso dei concerti per flauto Op.10 – numerosi brani adattati o rielaborati sulla scorta di precedenti versioni. E’ evidente dunque il carattere commerciale di queste raccolte anche se non poche differenze si manifestano al loro interno. L’Op.11 e l’Op.12 furono verosimilmente pubblicate quasi in contemporanea, come si evince anche da un annuncio pubblicitario del 2 settembre1729 sulla Gazette d’Amsterdam.